초판 조명희 시선(큰글씨책)

조명희

1920년유학생들의사상적인갈등.가난을그린희곡<김영일의사>를발표하며작품활동을시작하였다.1923년생활고로일본에서귀국.희곡<파사>를<<개벽>>지에발표했따.1925년카프에가담해이기영,한설야등과마르크스주의를공부하였따.대표작<낙동강>은계금사상신봉자인사회운동가박성은의일대기를그린작품이다.1928년일제탄압을피해소련으로망명.한인촌교사로일하며민족의한을노래한<짓밟힌고려>를발표함.일제의간첩이란누명으로스탈린정부에서44세로총살당했다.

≪봄잔듸밧위에≫
＜봄잔뒤밧위에＞의部
成熟의祝福 ···················3
驚異 ·······················4
無題 ·······················5
봄 ························6
봄잔듸밧위에 ··················7
情 ························8
내못견데여하노라 ················9
人間肖像讚 ···················10
달좃차 ·····················12
동무여 ·····················13
새봄 ······················14
불비를주소셔 ··················16
感激의回想 ···················17


＜蘆水哀音＞의部
?러지는가을 ··················19
孤獨者 ·····················21
누구를차저 ···················22
아츰 ······················24
나의故鄕이 ···················25
因緣 ······················27
나그내의길 ···················29
孤獨의가을 ···················30

＜어둠의춤＞의部
별밋흐로 ····················35
淚의神이여 ···················37
한숨 ······················38
어린아기 ····················40
生命의수래 ···················42
生의狂舞 ····················44
닭의소리 ····················45
血面鳴音 ····················46
夏夜曲(故鄕에서) ················49
太陽이여!生命이여! ···············50
알수업는祈願 ·················52
賣肉店에서 ···················53
不思議의生命의微笑 ··············54
내靈魂의한쪽紀行 ···············55
分裂의苦 ····················58
눈[雪] ······················59
나 ·······················61
스핑스의悲哀 ··················62
煩惱 ······················63
엇던동무 ····················64
원숭이가색기를나앗슴니다 ············66
永遠의哀訴(故鄕에서) ··············67


신문·잡지발표작
短章 ······················71
記憶하느냐 ···················72
가을 ······················73
‘어둠의검’에게바치는序曲 ············74
온저자ㅅ사람이 ·················76
바둑이는거짓이업나니 ··············77
어린아기 ····················78
나에게－反省의樂園을다고－ ··········80
세식구 ·····················81
짓밟힌고려 ···················82
십월의노래 ···················86
(볼세비끼의)봄 ·················88
녀자공격대 ···················91
맹서하고나서자 ·················93
‘오일’시위운동장에서 ··············96
아우채옥에게 ··················102
까드리여,너이의짐이크다! ···········109
아무르를보고서 ·················114
공장 ······················116


해설 ······················119
지은이에대해 ··················144
엮은이에대해 ··················149

지식을만드는지식‘초판본한국시문학선집’은점점사라져가는원본을재출간하겠다는기획의도에따라한국문학평론가협회에서작가100명을엄선하고각각의작가에대해권위를인정받은평론가들을엮은이로추천했다.엮은이는직접작품을선정하고원전을찾아냈으며해설과주석을덧붙였다.
각작품들은초판본을수정없이그대로타이핑해서실었다.초판본을구하지못한작품은원전에가장근접한것을사용했다.저본에실린표기를그대로살렸고,오기가분명한경우만바로잡았다.단,띄어쓰기는읽기편하게현대의표기법에맞춰고쳤다.

대한제국이일본의식민지가된지벌써100년이흘렀으며,한국근대문학의태동과전개역시도100여년의시간이흘렀다.근현대문학의정체성에대한많은도전과의문들속에서조명희문학은철저하게배제되었거나,너무늦게문학연구자의관심을받게되어문학사적인조명을제대로받지못한경우라할수있다.여기에는조명희가프롤레타리아혁명의나라인소련으로망명한작가였다는정치적인점도크게작용했을것이며,부차적으로는‘조명희를조선의작가로볼수있는가?’라는배타적민족문학의시각도담겨있다.
그럼에도불구하고조명희는한국근대문학의형성과KAPF소설의문학적가치를논의하는데빼놓을수없는작가로평가받는다.
도쿄유학시절에결성한‘극예술협회’가초연한＜김영일의사＞는조명희가쓴연극대본으로,우리나라최초의창작희곡으로평가받고있다.특히러시아의소설가고리키와톨스토이에경도되어당대현실을사실주의적기법으로서술해낸＜낙동강＞은조명희를대표하는소설이자,일제식민지현실속에서프롤레타리아혁명을꿈꾸는계급적이면서도민족적인현실인식을제대로형상화해낸KAPF소설로평가받고있다.
이에비한다면,우리나라세번째창작시집이라고평가할수있는≪봄잔듸밧위에≫나연해주망명전까지썼던사실주의경향의시들,연해주로정치망명한후쓴여러산문시들과동요시들은상대적으로높은문학사적평가를받은것은아니다.물론＜짓밟힌고려＞와같이일제에나라를빼앗긴조선인이민족적정체성을환기한시에대한평가도이루어졌지만,문학성그자체보다는프롤레타리아문학의성과로받아들여지는면이없지않다.
정치적이데올로기와민족적경계를넘어서는디아스포라문학을상정한다면,조명희는근대문학의디아스포라작가로손꼽을만하다.식민지조선에서문학청년기를보내고,도쿄유학시절에서구근대문학을본격적으로접했으며,다시식민지조선으로돌아와KAPF문학활동을하다가,소련으로망명해소비에트조선문학을일으켜세운이력속에서경계에선디아스포라경험이야말로조명희문학의중요한토대가되고있음을알수있다.
조명희는근대문학의여러장르를아우르며선구적인문학활동을펼쳐보이지만,시만큼작가의디아스포라이력을잘나타내는문학작품도없을것이다.도쿄유학시절에관념적자연을노래한시,식민지조선으로되돌아와궁핍한현실속에서경험하게되는경성의삶을형상화한시,망명후조선의프롤레타리아혁명을꿈꾸며노래하는시등조명희시들은작가가경험하는탈경계적삶의궤적을관통하며울려퍼지고있다.그선율을따라조명희문학의거대한흐름속에서유랑해보자.